Composer David Hurd
Text George Herbert
Topics Love (of God)
Length 1' 55" Price $2.00 (U.S.)
Catalog no. 418-610 Difficulty Mod. diff.
Discography Silence & Music: The Choir of All Saints Episcopal Church, Beverly Hills, California, Thomas Foster, Director, Craig Phillips, organist (Gothic Records)
Other editions TTTTBB (418-615)
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A musically challenging piece, one that demands good intonation, but with a beautiful result. The text is one of the most well-known of George Herbert's poems.
Love bade me welcome:
yet my soul drew back,
guiltie of dust and sinne.
But quickey'd Love
observing me grow slack
from my first entrance in,
drew nearer to me,
if I lacked anything.
A guest, I answer'd,
worthy to be here:
Love said, You shall be he.
I, the unkinde, ungrateful?
Ah, my deare, I cannot look on thee.
Love took my hand
and smiling did reply,
Who made the eyes but I?
Truth, Lord but I have marr'd them:
let my shame go where it doth deserve.
And know you not, sayes Love,
who bore the blame?
My deare, then I will serve.
You must sit down, sayes Love,
and taste my meat:
so I did sit and eat.
Text: George Herbert
"A sensitive setting of this George Herbert poem. Not too difficult, and full of rich harmonic texture wed to the text." -Cross Accent, January 1994.
"Another in Selah's series honoring George Herbert. The chordal writing is almost always SSATB, and tenors are often divisi as well. A challenge but doable, and a change of pace from the Vaughan Williams setting from Five Mystical Songs." -AAM Journal, May, 1994
"Love Bade Me Welcome is scored in four-part chorale style with the choir part doubled by the organ. David Hurd uses many contemporary harmonies and the choir needs to be comfortable with this style to bring this excellent work to its peak of performance." -Modern Liturgy, May 1994.
"At the 1995 Conference in Los Angeles, I heard for the first time David Hurd's setting of this George Herbert text. David has honored the strophic structure of this text, molding it into a motet with a quiet, reflective, introspective mood. It is not difficult. The fifth part, while staved for second soprano, could be sung easily by altos or countertenors since the highest note is A-flat by middle C. Aside from this additional part, the greatest difficulty for an average choir would be that of tuning. The closeness of some of the harmonies and the various progressions need to be approached with great care in order to convey the peace within this almost impressionistic composition. The composer has included well thought out dynamic and breath markings. Every time that we have performed this piece, we have had only rave comments from those present." -Edgar Billups, AAM Journal, December 2002